OECD Culture and Local Development.pdf - PACA

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Chapter 3 Promoting local development by creating cultural products The link between culture and tourism is a basis for development in certain territories. The link between culture and creativity also holds prospects for local development. This contribution of culture to development (for which design activities offer a good example) does not always receive the same attention as tourism spinoffs, however, perhaps because it takes longer to make itself felt. Moreover, it is less visible, for the goods are not consumed on the spot but rather beyond the producing territory, and only part of the value created returns to the territory, after deducting the shares of intermediaries and retailers. Why should we pay more attention to the local production of cultural products than of other goods? These goods are highly sensitive to the nature of the territory where they are produced. They are idiosyncratic in the sense that their production relates to specific places, and they would not appear or be produced in the same way in other places. Moreover, an analysis of these production sites shows a great deal of formal or informal trading in tangible elements (materials, equipment) or intangible elements (knowledge and know-how), hence the notion of a cultural cluster or district. In effect, this output of cultural goods is constantly renewing itself, and this forces businesses to change the component elements of their production function. They can do so better if they can establish relationships within their immediate vicinity that allow for such adaptation. Today there are many examples of these cultural clusters. We shall go into their typology later, but we may start with three examples that illustrate some of the potential facets of cultural clusters and of creativity: Florence, Limoges and California. - Florence is the capital of Tuscany, and performs many economic functions. A true “city of art”, its artistic heritage is recognised as one of the most important anywhere, and every year it attracts millions of tourists - the Uffizi Gallery receives a million and a half visitors alone (Lazzaretti, 2004). The city’s cluster of museums in fact accounts for nearly 11% of all the museums in Italy 71 . The drawing power of these museums is mutually reinforcing, and they have pooled many of their services, such as communications. Linked to this heritage of CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © OECD 2005 95
3. PROMOTING LOCAL DEVELOPMENT BY CREATING CULTURAL PRODUCTS buildings and art is a cultural cluster that specialises in the restoration of artworks: of its 145 craft shops, three-quarters are devoted exclusively to the restoration of ancient works. While 61% of them have only one worker, some of the others have as many as 20, and the cluster as a whole employs more than 700 people. Firms are bound by strong traditions of cooperation, although this is more evident in the restoration of heritage buildings than of artworks. Firms in a particular trade will tend to cluster together in the same neighbourhood: those working on buildings will be found outside the city centre, and the others within, which reinforces the cultural image of the central city and makes it a true cultural quarter (see Chapter 4). This cluster serves not only local markets but also national and international markets, and is thus a source of service exports. - Despite its very significant artistic and architectural heritage, Limoges is not generally regarded as an art centre or tourist destination. Yet for nearly 200 years it has been home to one of the most important cultural and creative arts clusters in Europe, where the art of the kiln produces enamelware and porcelain (Greffe, 2003). For more than a thousand years, Limoges has been a centre of the enamel industry, or more generally the use of fire to affix vitreous materials to metal surfaces, with as its local specialty the glazing of copper (champlevé enamelling 72 ). But it was only in 1777 that the intendant of the Limousin, Turgot, succeeded in arranging for locally produced kaolin to be used in Limoges instead of being shipped to Paris for the royal porcelain works at Sèvres. Since that time, porcelain factories have multiplied in Limoges, accompanied by the creation of fine-art and applied-arts schools and museums. Today, the ceramics industry employs 4000 people in the Limoges area, distributed among 70 firms. In 2001, overall output amounted to 305 million, of which 30% was exported. Porcelain alone accounts for 2200 jobs, with output of 111 million 73 . Working alongside the big factories are a dozen or so establishments of 25 to 75 employees, and 100 or more independent craft shops making one-off, handpainted decorative porcelain objects or collector’s items. This industry has survived market vicissitudes and competition from around the world, thanks mainly to the constant link that has existed between artistic and economic activities, whereby artistic creativity has been allied with technological innovations to keep the Limoges industry steadily in the lead. Thus it has introduced gold bands and silvering, hand-painted decoration, the use of Japanese motifs and Impressionist lighting effects, references to art nouveau and cubism, and standing collaboration with great artists like Sonia Delaunay and Raoul Dufy. An entire economic fabric has grown up around the porcelain industry of Limoges, applying its know-how to activities with higher value-added, e.g. the supply of raw materials, equipment making, bathroom fixtures 74 . Technology transfer has given rise to innovative SMEs making such things as orthopaedic implants and ceramic printing 96 CULTURE AND LOCAL DEVELOPMENT - ISBN 92-64-00990-6 - © OECD 2005
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Culture and Local Development
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BIBLIOGRAPHY Bretton, H., (2000), C
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BIBLIOGRAPHY Frey B. & W.W. Pommere
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BIBLIOGRAPHY Karachalis N.,E. Kyria
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Annex 2 CHAPTER 3: PROMOTING LOCAL
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